that Rose does not, at times, analyze the same issues in rap music, but she does so with a personal fire and language which engage the reader in a way Frith would seem to disdain. Frith begins his essay referring to another researcher's work as "obsessive" (Frith 174) and later praises the "kind of dull . . . approach to popular music" rooted in "social anthropology and sociology." He compares his chosen approach and theoretical model favorably with the contrasting approach and model: "flashy, imaginative, impressionistic, unlikely pop writing" (Frith 178).
Frith would clearly not appreciate Rose's approach, at least the parts of her book which reveal such a "flashy, imaginative, impressionistic" approach:
Public Enemy's prophet of rage, Chuck D., keeps poor folks alert and prevents them from being lulled into submission
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